Brooklyn Horror Film Festival 2023: Amanda Kramer’s doc ‘SO UNREAL’ is a sci-fi cinephile’s wet dream.

SO UNREAL

Cinema and Cyberspace collide in this fascinating study of the effects of the internet. Debbie Harry‘s echoing narration guides us through history and cinematic timelines, how easily we welcomed computers into our homes, and how swiftly technology transitioned from entertainment to an eventual subconscious weapon. Amanda Kramer‘s SO UNREAL reminds us how films push the boundaries of our technological imagination, and they predict them for better or worse.

The film delves into everything from hackers to virtual reality, cyber sex to anxiety-inducing, and the near-future prospect of a potential AI uprising. Harry talks audiences through an eclectic group of films like The Matrix, Tron, Weird Science, The Net, Hackers, The Lawnmower Man (one of my guilty pleasures), and a 1995 film loaded with untold apocalyptic prophecies, Strange Days.

The script could be an audiobook or podcast all its own. Harry describes the entire play-by-play as if creating the alt text of an Instagram post. Jon Cooper’s graphics are a time capsule that comes to life. Enhanced by Josh Ascalon‘s ominous, 80s-inspired score and Benjamin Shearn‘s immaculate editing of sporadic audio clips and archival footage, SO UNREAL is a hypnotic head trip.

You’ll want to rush out and (re)watch every film mentioned in SO UNREAL. At a minimum, Kramer has one hell of a conversation starter across generations of cinephiles and tech users alike. A frightening peak into studio exec minds where actors are rendered obsolete, SO UNREAL is a terrifying and mesmerizing gut punch and navigation through an already curated online reality.


Brooklyn Horror Film Festival 2023


 

Grimmfest (2021) review: ‘Night Drive’ shifts into an entirely new gear.

NIGHT DRIVE

A ride share driver’s life is turned upside down after an unexpected series of misfortunes.


Russel drives for Jaunt, an Uber-like app, shuttling people of all types all over L.A. After a young female passenger named Charlotte requests an added stop, Russel becomes caught up in a plot no one would see coming. This seemingly mundane premise spirals into shocking chaos that never ends. It’s an awesome commentary on how power changes the human soul. The chemistry between Sophie Dalah and AJ Bowen is electric. Their witty repartee and Charlotte’s penchant for danger keep the stakes and excitement high. With films like The Toll, Spree, and The Stranger, rideshare horror is an ever-expanding subgenre. Meghan Leon and Bradford Baruh share directing and producing credits. Baruh also plays the role of DP. Leon adds editor to her resume in addition to screenwriter. This script takes us on one wild ride. What feels like a set-up we’re getting used to becomes a (SPOILER ALERT) neo-noir sci-fi! It’s such an incredible payoff for an already tight 80 minutes. When are we going to normalize shorter runtimes with outstanding storytelling? Night Drive sets a strong precedent. Do I smell franchise potential? I could get revved up for that.



[Available October 16, 2021, 1:30 – 11:30 PM] Watch now online…


Tribeca Festival 2021 capsule reviews: ‘Settlers’, ‘Glob Lessons’, and ‘7 Days’

Settlers

Mankind’s earliest settlers on the Martian frontier do what they must to survive the cosmic elements and each other.

Undeniably riveting, Settlers pits one family unit against another. Brooklynn Prince, who burst onto the scene in The Florida Project, captivates as a child whose survival depends on the lies she’s been fed by adults. Sofia Boutella skillfully plays her mother and ardent protector. As the reality of the situation of humanity is slowly revealed, the peril grows for everyone involved. Settlers is a film about trust, through and through. As time passes, Remmy’s role is taken over by Nell Tiger Free. She must navigate loneliness, and more importantly, the advances of the man who keeps her both alive and captive. Settlers’ unique script by director Wyatt Rockefeller allows us to question what we would do when faced with extreme circumstances. The landscape beautifully mimics the surface of Mars. Its desolate surroundings create palpable isolation and ceaseless desperation. The addition of a robotic character is the only thing that brings levity. Ismael Cruz Córdova as Jesses walks a precarious line between savior and villain. His beliefs steer the story into the darkest regions of human nature. Settlers is worth the watch for extraordinary performances and one hell of a feature debut from Rockefeller.

DIRECTOR
Wyatt Rockefeller
CAST

Sofia Boutella, Ismael Cruz Córdova, Brooklynn Prince, Nell Tiger Free, Jonny Lee Miller


Glob Lessons

Two mismatched strangers confront their fears of intimacy and inadequacy as they tour low-budget children’s theatre out of a minivan across the frozen Upper Midwest.

Nicole Rodenburg and Colin Froeber give us every emotion on screen. As a theater major, I know Jesse and Alan. But as a human being, everyone will know them. The concept of pouring your soul into your passion with little in return is universal, be it children’s theatre or any other occupation. There is a fine line between love and loathing. The laughs are plenty lying within awkward non-conversation and road movie tropes. Tension and tolerance levels eventually come to a head with creativity as their savior. In Glob Lessons, the moments of genuine intimacy between Froeber and Rodenburg grab hold of the viewer. Jesse and Alan are fleshed-out characters. At times they are pathetic, other times endearing. The chemistry between Froeber and Rodenburg is the stuff of movie magic. Glob Lessons isn’t flashy and that’s the point. Life is messy. Let’s own it. I am excited to see what comes next from a voice like Rodenburg’s. If Glob Lessons is any indication, we’ll be seeing more very soon.

 

DIRECTOR
Nicole Rodenburg
SCREENWRITER

Colin Froeber, Nicole Rodenburg


7 Days

As if their pre-arranged date, organized by their traditional Indian parents, wasn’t uncomfortable enough, Ravi and Rita are forced to shelter in place together as COVID-19’s reach intensifies.

This film snuck up on me. Filmed during lockdown and using COVID as a major plot point, 7 Days turns the concept of traditional arranged marriage on its head. Geraldine Viswanathan brings the laughs as Rita. Breaking the mold of the dutiful would-be bride, she begrudgingly comes to Ravi’s rescue with little to no hope of being his match. Karan Soni, who co-wrote the screenplay with director Roshan Sethi, plays straight-laced, Ravi.  As boredom sets in and guards are let down, a genuine connection slowly develops. The chemistry between Viswanathan and Karan feels grounded and made for some incredibly memorable moments. 7 Days is funny and heartfelt. I was not expecting the darker turn in the script. It was a bold move that paid off in spades. Filmed mostly in one room created the tension and awkwardness we needed to experience alongside Rita and Ravi. It takes the idea of close quarters to the extreme. 7 Days is a true gem from this year’s festival.

DIRECTOR
Roshan Sethi
SCREENWRITER
Karan Soni, Roshan Sethi
EXECUTIVE PRODUCER
Mark Duplass, Jay Duplass, Roshan Sethi, Karan Soni, Geraldine Viswanathan

Sundance 2021 review: ‘The Pink Cloud’ is closer to reality than fiction.

The Pink Cloud

Giovana and Yago are strangers who share a spark after meeting at a party. When a deadly cloud mysteriously takes over their city, they are forced to seek shelter with only each other for company. As months pass and the planet settles into an extended quarantine, their world shrinks, and they are forced to come to terms with an accelerated timeline for their relationship. With all their other interactions governed by screens, and with the strain of isolation setting in, Giovana and Yago struggle to reinvent themselves and reconcile the differences that threaten to tear them apart.

The film opens with a disclaimer that catches you off guard. Pretty quickly you realize it’s not a ploy, it’s necessary. The parallel to our current global situation is astounding. It’s as if the writer/director Iuli Gerbase got a glimpse into the future. It’s confounding.

This is a relationship film in lockdown circumstances. Yago and Giovana experience all the normal stresses of dating in a compressed timeline. Children or no children, work/life balance, philosophy, regrets, keeping it fresh. There’s humor in the darkness, but the darkness is much deeper.

The visual juxtaposition of how beautiful the clouds are and the fact that they’re deadly is not missed. The montages of how they pass the time are fantastic. Technology, like our present real-life, makes almost all things possible from learning and entertainment. But, obviously, the downside of social media comes into play. From conspiracy theories and depression, it’s all there. The Pink Cloud is frighteningly familiar and yet completely unique. Sometimes it’s just all too much. This film isn’t shy and I respect that. This is one of my favorite films from this year’s Sundance Film Festival.


Iuli Gerbase’s Eerily Prescient Sundance Sci-Fi Opens in Select Theaters January 14, 2022

Including The Quad Cinema in NYC and The Laemmle Royal in LA

On Digital/VOD March 1, 2022


Review: ‘Go/Don’t Go’ consumes you with mystery.

GO/DON’T GO

Caught between a lost love story and inescapable paranoia, “Go / Don’t Go” is a genre-bending slow burn thriller that follows Adam, a wallflower who happens to be the last person left alive-or so he thinks.

Rarely do I stop a screening link every 5 to ten minutes and reiterate what is happening out loud to my husband. While viewing Alex Knapp‘s post-apocalyptic psychological thriller GO/DON’T GO, I did just that. I was so intrigued I had to share all of the subtle genius happening on screen from beat to beat, sometimes blink-and-you-miss-it imagery. The meticulous thought that went into this script is noteworthy. The breadcrumbs are laid out to entice your imagination with theories. Here is what I can glean from what I saw, stay with me; Agam and K are dating, an unknown world event happens, in a panic, they try to make their way to the mountains to better assess the situation. Something goes awry and K disappears, leaving Adam as the sole human left on Earth. What we and Adam are left with is to piece together disjointed information to try and escape what feels like a little bit of a purgatory-esque version of Memento. Yup. Until the final image, I wracked my brain as to the innumerable possibilities that this story presented me. Was Adam in hell? Was Adam in a parallel timeline? Was Adam insane? Is this an allegory for grief?

GO/DON’T GO could easily be developed into an entire series based on the flashes of information we receive in a 1 hour and 30-minute runtime. What’s with the lightbulb diary? How is all the food so fresh? Why is there still electricity at all? Where is his dog? *Silent scream* I want to know so much more, but completely respect the fact that a massive mystery still remains. If you want to run and tell people and/or ask them if they’ve seen this film while on the festival circuit, well I don’t know what a bigger compliment you could give a first-time filmmaker. Alex Knapp is not only captivating in the role of Adam, but he clearly understands how to effectively build suspense with his writing. He holds the viewer captive with questions and punctuates those moments with a superb soundtrack. The ever-changing lighting is haunting. GO/DON’T GO grabs you from the very first scene and keeps you guessing until the screen goes black. The thought that went into this film is palpable. While I still have so many things I want to know about the ending, I am a cheerleader for Knapp. Whatever’s coming next, I want it now.

GO/DON’T GO, from writer/director Alex Knapp, releases via Gravitas Ventures TUESDAY, January 12, 2021.

ON DEMAND AND DIGITAL
iTunes, Amazon, Google Play, Xbox, Vudu,  Direct TV, Dish Network, and all major cable providers.

[my_mοvie_db id=669644]

Review: ‘Synchronic’ will surprise you time and time again.

SYNCHRONIC

Synopsis:
When New Orleans paramedics and longtime best friends Steve (Anthony Mackie) and Dennis (Jamie Dornan) are called to a series of bizarre, gruesome accidents, they chalk it up to the mysterious new party drug found at the scene. But after Dennis’s oldest daughter suddenly disappears, Steve stumbles upon a terrifying truth about the supposed psychedelic that will challenge everything he knows about reality—and the flow of time itself.

At this point, all I really need to see to get excited is “A Moorhead and Benson Film” on my screen. You literally never know what you’re going to get except that it will most likely make you question your own reality. Synchronic is yet another visual and storytelling mindfuck. After the success of Spring and The Endless, Jaime Dornan and Anthony Mackie headline their newest trippy installment. The camera work is as dizzying as the plot. You are plunged into the darkness immediately. The editing is a damn triumph. You cannot look away in fear of missing the smallest clue. When the plot is actually revealed, an entirely new layer of insanity is unleashed. It is a head trip of epic proportions. It’s what fellow Whovians like to call “Wibbly Wobbly, Timey Wimey”. Now that my nerd is sufficiently showing, I can gladly report that the awesome flows throughout the film will nuance and heart. These men are flawed. Fully fleshed out human beings with serious issues. Throw in a mystery drug that’s is traumatizing users, oftentimes killing them in the most bizarre ways and you’ve gone from drama to sci-fi spectacular. Synchronic is beyond engrossing for all of the reasons above… and so much more.

Dornan is great as the privileged guy who takes his family for granted. When his daughter disappears into thin air, the performance ramps up. Mackie has the challenge of not only portraying a man whose body is failing him but to convey the magnitude of Synchronic to the audience. Both performances give us very different things. Their chemistry is spot on. But it is Mackie that must be the driving force for Moorhead and Benson’s creation. Their films are so carefully crafted in story and visual treats that we are compelled to sit up a little straighter as we audibly exclaim, ‘WFT!” That’s the beauty of this team. The breadcrumbs are there. The social commentary is unmissable. Synchronic will be lauded as another fantastic notch in the belt of Aaron Moorhead and Justin Benson, there is no doubt about that. It may be the film that moves them from indie genre filmmaker crushes to household names.

In Theaters & Drive-Ins October 23rd

Directed by: Justin Benson and Aaron Moorhead (The Endless)

Starring: Anthony Mackie, Jamie Dornan, Katie Aselton, and Ally Ioannides

 

Coming Soon… Matthew Schuchman‘s interview with Aaron Moorhead and Justin Benson.

Stay tuned to Reel News Daily for the inside info on SYNCHRONIC!

Review: ‘LX2048’ is a snapshot into a disturbing possible future.

In the near future, the sun has become so toxic people can no longer leave their houses in daytime, and normal life is conducted mostly inside the virtual realm. Against this dystopian backdrop, a dying man seeks to ensure the future well-being of his family, while coping with what it means to be human in this new reality.

The opening credits give you a tiny preview of what kind of visual delight you’re in for. Writer/director Guy Moshe has crafted a frightening and dark film. All the more impactful in 2020, when everything we do has now become virtual, LX 2048 is terrifying because in theory, 28 years from now this feels completely plausible. Residents of this new world are ordered to take government-sanctioned antidepressants because the sun is no longer safe to step into. Once you die, you can upgrade to a clone that will seamlessly take your place. That might sound like a dream to some but when does the human experience end and technology take over completely? Is there where humanity goes to die? With the new countdown clock in Union Square now counting down to irreplaceable climate damage, is this film an omen?

The sets make you feel like these people are living in Ray Bradbury‘s play The Veldt. Backlit, padded rooms, where the human is visually connected to a virtual pair of glasses creating their reality. It’s fascinating but emotionally disconnected, which is entirely the point. Besides the look, the engrossing exploration of the meaning of life through technology advancement. LX 2048 could easily be an entire series. There is a lot that gets packed into roughly an hour and 45 minutes.

James D’Arcy‘s performance is riveting.  As Adam, he must grapple with the notion that his children are part of this system, that his marriage has deteriorated past saving, and that a “better version on himself” could show up to replace him at any moment. We must sift through his depression, mania, hope, hysteria. It is a roller coaster of emotions for the audience. Many scenes require D’Arcy to speak to people at length that are not actually present. A lot of virtual meetings and calls.  It’s like watching a masterclass in acting. Wait for the Shakespeare to drop. You’ve only just begun to see the full scope of his talents.

LX 2048 challenges your idea of ethics all while entertaining the hell out of you. Dive headfirst into this not so farfetched idea of what could be coming our way… Whether we like it or not. LX 2048 comes out today in Virtual Cinemas and North American VOD.

James D’Arcy (Dunkirk, “Broadchurch”, Marvel’s “Agent Carter”) headlines the cast as a man who has resisted humanity’s exodus to virtual reality.  With his death fast approaching and a clone ready to step in as husband and father, Adam struggles to find a way out of his situation, to protect his wife (Anna Brewster, Star Wars: The Force Awakens, “Versailles”) and children.  The cast is rounded out by frequent Spike Lee collaborator and Tony Award nominee Delroy Lindo (Malcolm X, Da 5 Bloods, “The Good Fight”) and BAFTA winner Gina McKee (“Our Friends in the North”, “The Borgias”, Phantom Thread).

LX 2048 will be available to rent or own September 25th on Amazon, iTunes, Comcast, Spectrum, Dish, DirecTV, Vudu and more in the US and Canada.

Fantasia 2020 review: ‘Minor Premise’ is a major feat.

Attempting to surpass his father’s legacy, a reclusive neuroscientist becomes entangled in his own experiment, pitting ten fragments of his consciousness against each other.

What if you could improve yourself? What if you could erase bad memories and make yourself smarter? Would you risk your very sanity? Minor Premise is a complex and intelligent film filled with surprise after surprise. Ethan Kochar’s experiment is an attempt to heal. His attempts to outdo his father’s legacy could cost him everything. His willingness to risk any remaining relationships he holds dear is boundless. Becoming the subject of his own experiment tunes him into the darkest parts of his subconscious. Director Eric Schultz has crafted an intricately edited thinkpiece that will twist your mind. Just before the 34-minute mark, Minor Premise both explains its plot and has one of the most clever single shots of the entire Fantasia 2020 Film Festival. Intentional or not, it feels like a nod to Peter Pan and time.

The storyboarding for Minor Premise must have been a major feat. Trying to keep the audience engaged during a myriad of jumps and emotional states feels like an impossibility, but Eric Schultz, and fellow writers Thomas Torrey, and Justin Moretto manage to use the chaos to drive the plot forward. It is where the film thrives. And yes, while it is about science, deep down it’s about embracing emotional truth. Minor Premise hinges entirely on Sathya Sridharan‘s interpretation of the science-based script. It is, at times, manic. Other times measured. Even hitting an even-keeled determination we are desperate for him to be for us. He represents the viewer. The desire to understand, the want for success, and the need to get to whatever conclusion is imminent. His scene to scene, moment to moment emotional highs and lows are altogether captivating. Minor Premise takes you on a ride in which you will check your own morals along the way.

Find out more about Minor Premise and Fantasia 2020

Fantasia 2020 review: Short film’ You Wouldn’t Understand’ is aptly named.

YOU WOULDN’T UNDERSTAND

An idyllic picnic of one is upended after the arrival of a stranger.

9 minutes of sci-fi absurdity is what I Iive for during Fantasia International Film Festival. You Wouldn’t Understand no matter how hard you try. Impeccably shot and hilariously acted, the only thing wrong with it is that it ends! And that is entirely the point. This is one of the best treatments for an entire series I’ve ever seen, even if that was never the intention. I would watch the hundreds of other iterations of the same story with absolute giddiness. I knew it owned me when I exclaimed, “What the hell?” halfway through. I was as completely weirded out as I was confused… but also had a stupid grin on my face that wasn’t going anywhere even after the credits rolled. Then I watched it again. I cannot stop talking about this film which is also ironic seeing as how I don’t want to give too much away to an audience. Because YOU WOULDN’T UNDERSTAND.

The film is a true collaboration. Director Trish Harnetiaux, also co-wrote the script with actor Jacob A. Ware, while co-star Anthony Arkin edited the short. No surprise the three formed the production company Steel Drum In Space. Which is a hilarious moniker of its own… for obvious scientific reasons. If Monty Python gets your goat, if great writing is your jam, if superb cinematography gets your engine revved, then You Wouldn’t Understand will make complete sense as a viewing experience.

WORLD PREMIERES AT
FantasiaYellow_Transparent.png

YOU WOULDN’T UNDERSTAND

Color
English Language
9 minutes
Not Rated

For more information on the film and to find out about Fantasia 2020 click HERE

Review: ‘Sputnik’ is stomach churning, sci-fi glory.

SPUTNIK

Due to her controversial methods, young doctor Tatiana Yurievna (Oksana Akinshina, Lilya 4-Ever) is on the precipice of losing her medical license. Her career may not be over, though. After she’s recruited by the military, Tatiana is brought to a secure science research facility to assess a very special case, that of Konstantin Sergeyevich (Pyotr Fyodorov, The Darkest Hour), a cosmonaut who survived a mysterious space accident and has returned to Earth with a unique condition: there’s something living inside of him that only shows itself late at night. The military has nefarious plans for it. Tatiana wants to stop it from killing Konstantin. And the creature itself thrives on destruction.

This intensely dark and visually frightening sci-fi film will get under your skin and stay there. The lighting choices alone, the perpetually dark and ominous choices will throw you into a state of disorientation from the very beginning. Practical effects, mixed with stunning CGI and creature design make for an enthralling watch. Performances are so strong you will be audibly rooting for our leads. As the tension builds, so does your heart rate. Oksana Akinshina as Tatiana Yurievna is a force to be reckoned with. Her measured tenacity, boldness, and bravery jump off the screen. As the sole female, her energy is what drives this film to success. Pyotr Fyodorov as Konstantin is an entirely different animal (no pun intended). His physical and emotional arch are the perfect foil for Akinshina. The emotional energy displayed onscreen will drain you as much as it must have Fyodorov Even with a runtime of nearly 2 hrs, Sputnik keeps you on the edge of your seat wondering how it will end. So, pop some popcorn, turn down the lights, and get ready for a spine chilling tale from a secret Russian location. Sputnik will make you look differently at the stars.

Release Details: SPUTNIK opens today, Friday, August 14th, in select theaters, digital platforms, and cable VOD, courtesy of IFC Midnight.  https://www.sputnik.movie/

Director: Egor Abramenko (THE PASSENGER)
Writers: Oleg Malovichko, Andrei Zolotarev
Cast: Oksana Akinshina (LILYA 4-EVER), Pyotr Fyodorov (THE DARKEST HOUR), Fedor Bondarchuk (9TH COMPANY)
Runtime: 107 Minutes
Distributor: IFC Midnight

Review: ‘Volition’ begs the question of fate.

VOLITION is a time-bending cerebral science-fiction thriller where a man afflicted with clairvoyance tries to change his fate when a series of events leads to a vision of his own imminent murder.

The storyboarding that had to occur for this to succeed must have been painstakingly detailed. Think Looper meets 12 Monkeys. Do not blink while watching this film. The writing is on the wall (literally in some cases.) Volition is an incredibly high octane, sci-fi thriller. It challenges fate and consequences. It’s a never-ending stream of entertaining moments that build and build. The editors deserve a major high five.

Clearly written with some serious precision, Tony Dean Smith, who also directs, and Ryan W. Smith has given us a time-warped mindbender. Our leading man, Adrian Glynn McMorran is phenomenal. Beat to beat he nails the emotional uphill battle this script becomes. Speaking of which, the pacing is really a feat. The complexity will keep you glued to your seat. Volition is aptly named not only for its plot but for everyone involved in making the film as successful as it is. Check out the trailer below for a sneak peek!

You can be seen on Apple TV, Prime Video, and other digital platforms this Friday, July 10th.

 VOLITION is the feature directorial debut for Tony Dean Smith (Rakka), who co-wrote the script with his brother and producing partner Ryan W. Smith (Next Gen).  The film stars Adrian Glynn McMorran (The Revenant), Magda Apanowicz (You), John Cassini (The Possession), Frank Cassini (Watchmen), Aleks Paunovic (War for the Planet of the Apes), and Bill Marchant (Godzilla).  It was produced in association with Paly Productions and Smith Brothers Film Company.

 

Review: ‘Archive’ will make you question life and death decisions.

SYNOPSIS:2038: George Almore is working on a true human-equivalent AI. His latest prototype is almost ready. This sensitive phase is also the riskiest. Especially as he has a goal that must be hidden at all costs:being reunited with his dead wife.

Archive is a visual dream for fans of A.I. related storytelling. The production design team has taken pages from sci-fi films of old while also giving the audience a completely original aesthetic. It’s almost the birth of Westworld’s technology. You cannot miss the nods to Space Odessey, Alien, and Blade Runner.

Performances are incredibly grounded. The physical isolation mixed with grief makes for a somber and ominous setup. The nuanced relationships are brilliant to watch as they evolve. You will find yourself empathizing with all the A.I. entities. Theo James gives us every beat in total honesty. Stacy Martin is a superstar in 3 very different roles. Quite impressive.

There is a lot of intrigue in this script. Moral ambiguity is a huge part of the plot. Writer-director Gavin Rothery begs the question, “How far would you be willing to go for love?” There are clues dropped in the dialogue and recalls in scenes providing clever juxtaposition that will challenge the viewer. You cannot look away. Blink and you’ll miss something that might be more important than you realize. Brimming with emotional complexity, Archive challenges what life and death will continue to mean as technology upgrades in the future.

ARCHIVE is releasing on July 10, 2020 on Virtual Cinema Screenings, on Demand and Digital.

Review: ‘Blood Machines’ a cyberpunk fantasy, now available on AMC’s Shudder.

Synopsis:
Two space hunters are tracking down a machine trying to free itself. After taking it down, they witness a mystical phenomenon: the ghost of a young woman pulls itself out of the machine as if the spaceship had a soul. Trying to understand the nature of this entity, they start chasing the woman through space.

Inspired by the spirit of the 80’s films and music, BLOOD MACHINES is a 50-minute, sci-fi horror mind-melter told in three chapters, scored by acclaimed and reclusive French synth-wave artist Carpenter Brut, and expanded from their music video of their track Turbo Killer. Starring Elisa Lasowski, Anders Heinrichsen and Noémie Stevens, written and directed by Seth Ickerman.

 

Chapter One:
Mima

This episode is so visually spectacular from the get-go, I exclaimed, “Whaaaaatttt” as soon as I spotted the first spacecraft. The sets are something akin to Star Wars, a video game, and a graphic novel. Great costumes and props add to this lived-in world. It has a solid 80’s vibe and yet it’s still completely timeless. If you don’t want to keep watching as the screen goes black, I will be flabbergasted.

Chapter Two:
Corey

This episode picks up exactly where Mima left off. The attention to detail in the cinematography is hypnotizing. The color choices are rad as hell. But it’s the plot that sneaks up on you in earnest here. The definition of a soul is prominently questioned, as is the psychosexual dynamic between the characters.

Chapter Three:
Tracy

This episode plays upon the many dimensions of the female psyche. The power of sensuality, protective nature, and empathy, and exploration. The visual juxtaposition between scenes is glorious. Wait until you see the climactic choreography. It will blow your mind.

Blood Machines is something entirely unique. While it is meant to invoke a conversation about “man” meeting machine and all the complexities that come with that ever-expanding A.I. issue, out of context it’s a very feminist film. As a woman viewing this magical creation, it made me feel vindicated and more kickass than usual.  It will rock you and entertain to no end. Writer-director Seth Ickerman has given the audience an intelligent and thoughtful piece of sci-fi. Carpenter Brut’s score is intoxicating. I would play that on a loop if given the chance. Genre fans will beg for more. I’m asking, nay imploring, that this story get expanded (AGAIN) in any form. It’s brilliant.

About SETH ICKERMAN:
Raphaël Hernandez and Savitri Joly-Gonfard are two French directors, working for 10 years under the pseudonym of Seth Ickerman. Known for their production design and art direction skillset, Raphaël and Savitri collaborated on various commercials for companies such as LG, Ubisoft, and Samsung. In 2016, they directed the hit music video Turbo Killer in 2016 for Carpenter Brut. 
About CARPENTER BRUT:
Carpenter Brut draws its influences from 80s TV shows and B-movies loaded with synthesizers. The mysterious and discreet man behind the pentagon – or the Brutagram as his fans would call it – evokes an encounter between Justice beats and the universe of John Carpenter. Listening to his home-made EPs, however, one would rather bet on a metalhead background, a crush for Dario Argento, and a force-fed religious education. This would explain his penchant for the occult, his passion for kitsch sounds, and his adoration for all kinds of enjoyment.
Carpenter Brut pays tribute to the post-hippie/pre-AIDS culture that then set the basis of electro and metal to give us a unique, violent, and crazy 80s revival sound.

 

Review: Indie Sci-Fi Comedy ‘The Wave’ starring Justin Long and Donald Faison, directed by Gille Klabin is one insanely weird trip.

Justin Long (Die Hard 4.0, Accepted) and Donald Faison (Scrubs, Clueless) lead the unique modern-day parable that follows Frank (Long), an opportunistic insurance lawyer, who thinks he’s in for the time of his life when he goes out on the town to celebrate an upcoming promotion with his co-worker, Jeff (Faison). But their night takes a turn for the bizarre when Frank is dosed with a hallucinogen that completely alters his perception of the world, taking him on a psychedelic quest through board meetings, nightclubs, shootouts, and alternate dimensions. As Frank ping-pongs between reality and fantasy, he finds himself on a mission to find a missing girl, himself… and his wallet.

Visually intoxicating, The Wave hits you like a ton of bricks. Justin Long plays Frank, an insurance lawyer, underappreciated at work and at home and stuck in the loop of the mundane, decides to go out on the town for once. When the shit hits the fan, we’re all on drugs with Long. The highs and lows, the mysterious chase, the lost time. It’s all insane and wonderful.

Sheila Vand, star of my one my all-time favorite film’s A Girl Walks Home Alone At Night, plays Theresa with a cool ease that the perfect foil for Long’s quick-witted corporate cynicism. Her energy is electric. Donald Faison as Frank’s best friend is was a smart choice from a sidekick standpoint. Their chemistry is awesome. He stands as a representation of the viewing audience in the sense that we’re just as confused (in the best way possible) as he is. This script is jarring and electric. Justin Long, once again, owns whatever role he takes on. I buy every second he is on screen. I don’t know if any other actor would have resonated as truthfully. Long’s ability to live moment to moment in each character is nothing short of genuine and delicious talent. Time jumping, drug-induced, comment on karma, The Wave is simply cool.

IN THEATERS AND ON VOD JANUARY 17TH

Review: ‘PORTALS’ is basically a genre-bending mindf*ck.

On August 5th 2020, an undisclosed research facility successfully creates the world’s first active black hole…Shortly after a cosmic disruption occurs triggering a series of world-wide blackouts; after which millions of mysterious, reality-altering, Portal-like anomalies appear everywhere and anywhere across the planet. While many flee from the sentient objects, the real terror sets in as people are drawn toward and into them.

 

Portals is a genre-bending anthology featuring three internationally connected stories told from four visionary filmmakers’ perspectives as the cosmic events unfold within the first few days. The action quickly kicks off with our wrap-around story following Adam and his family on their way to his mother-in-law’s house during the blackouts and reports of missing persons..during the road trip their SUV barrels directly into an Anomaly that suddenly appears in the middle of a desolate road. He later wakes up in a mysterious hospital suffering from optic nerve damage and is given an experimental eye transplant that links itself directly to the anomalies. With a determination to be reunited with his family; Adam soon discovers the hospital has cosmic secrets of its own.

Incredibly effective CG mixed with a mass hysteria mystery makes Portals beyond entertaining. The film’s pace makes you uneasy immediately. It’s quite impressive. The play on parental emotions and survival instinct keeps you on the edge. I NEEDED to know how this was all going to play out. The cast is magnificent. The multiple narrative styles fit perfectly into this genre-bending film. While the third selection between two sisters feels a bit too long, it shifts the genre dynamic. To what? I’m not quite sure, but it still has me invested because it is moving the plot forward. The physical portals themselves look like massive, high tech flat-screen televisions. The digital effects they utilize on the screens are cool and you learn very quickly somehow connected to the story. As the plot twists and turns, Portals has an almost dizzying effect. It would be a phenomenal miniseries. It’s a lot of information to explore in a single film. I try to go into a film without reading much about it first. Once I realized that this was actually an anthology, I was all the more impressed. The quality of writing flows through each separate selection as does production for continuity, obviously. But I was blown away by the risks these writers and directors took to feature different perspectives in the same way individuals having “the same experience” internationally. When all is said and done, Portals begs for a sequel. If not, then an entire series. There is a ton of story left to tell and I am here for it all.

In Theaters and On Demand October 25

Directed by Eduardo Sanchez (The Blair Witch Project, Exists)Gregg Hale (V/H/S 2), Timo Tjahjanto (The Night Comes For Us, Headshot), and Liam O’Donnell (Beyond Skyline)

Starring Neil Hopkins (“Lost”), Deanna Russo (Burning Love, Knight Rider), Gretchen Lodge (Lovely Molly), Natacha Gott (After the Dark), Phet Mahathongdy (Skyline), Ptolemy Slocum (“Westworld”), and Salvita Decorte (The Night Comes For Us)

Produced by Brad Miska and creator Chris White alongside BoulderLight Pictures’ J.D. Lifshitz and Raphael Margules, and Pigrat Productions’ Alyssa and Griffin Devine

Review: ‘PARADISE HILLS’ is a stunningly beautiful sci-fi with feminist punch.

SYNOPSIS: On an isolated island, Uma (Emma Roberts) wakes up to find herself at Paradise Hills, a facility where high-class families send their daughters to become perfect versions of themselves. The facility is run by the mysterious Duchess (Milla Jovovich) where calibrated treatments including etiquette classes, vocal lessons, beauty treatments, gymnastics and restricted diets, revolve all physical and emotional shortcomings within two months. The outspoken Uma finds solace and friendship in other Paradise Hills residents — Chloe (Danielle McDonald), Yu (Awkwafina) and Mexican popstar Amarna (Eiza Gonzalez). Uma soon realizes that lurking behind all this beauty is a sinister secret. It’s a race against the clock as Uma and her friends try to escape Paradise Hills before it consumes them all.

Vibrant costumes and sets envelop the audience immediately. The island on which these young women are being housed would seem like a dream if they weren’t being held against their wills and reprogrammed. Paradise Hills has a cast that is mind-blowing. Emma Roberts, Awkwafina, Danielle Macdonald, Eiza González, Milla Jovovich headline this twisted tale of turning societal “bad girls” into Stepford wives to the nth degree. Their surroundings look good enough to eat, Versailles in actual cake form. It has a solid feminist message of finding your own voice. The cool sci-fi script is a great story for fans of Suzanne Collins and Hunger Games nostalgia. This will also resonate with Handmaid’s Tale lovers. We need more young females challenging the patriarchal structure set against creative backdrops. While the third act explanation of Jovovich’s character feels like a completely different story to tell, the rest is very solid. The performances are all impressive. Paradise Hills is as beautiful to watch as it is intriguing.

**World Premiere – Sundance Film Festival 2019**

**Official Selection – Fantasia Film Festival 2019**

**Official Selection – Sitges Film Festival 2019**

Samuel Goldwyn Films will release the fantasy/sci-fi/thriller PARADISE HILLS in theaters October 25, 2019 and on digital and on-demand November 1, 2019.

PARADISE HILLS is Spanish fashion creative and photographer Alice Waddington’s feature debut. The film features an ensemble cast including Emma Roberts (“American Horror Story,” “Scream Queens”), Danielle Macdonald (DumplinPatti Cake$), Awkwafina (The Farewell, Crazy Rich Asians), Jeremy Irvine (Billionaire Boys Club, War Horse), Arnaud Valois (BPM (Beats Per Minute), The Girl on the Train), Eiza Gonzalez (Fast & Furious Presents: Hobbs & Shaw, Baby Driver) and Milla Jovovich (Resident Evil seriesThe Fifth Element). The film was co-written by Nacho Vigalondo (Colossal, V/H/S Viral) and Brian DeLeeuw (Daniel Isn’t Real, Some Kind of Hate.)

Fantasia International Film Festival 2019 review: ‘The Incredible Shrinking Wknd’ is insightful genre bender.

THE INCREDIBLE SHRINKING WKND

Alba is losing time. A mysterious place in the woods has caused her days to take a true Groundhog Day turn but with an added twist. Each repetitive day during an overnight trip with her friends is one less hour than the day before. The only consistent thing is the clothing she ends her day with is the clothing she restarts in… and any bodily damage such as injuries or hangovers. Alba must decide how she’ll handle each repetition. How will she change her fate and those of her fellow cabin mates before the final hour runs out? This film doesn’t immediately reveal its deeper meaning. It takes it time and in a smart fashion. It’s much more introspective than at first glance. Abla takes risks to challenge her surroundings and presumptions about her predicament. All while finding buried childhood treasures around the property. Oh, that’s the only other thing that carries through. The film is not only a scavenger hunt for her past but her present as well. Iria del Río as Alba is amazing. She is raw and untethered. The Incredible Shrinking Wknd keeps the audience on its toes with its ” what would you do” scenario. It challenges the viewer to think about how selfish we are and how little we actually care for the people in our circle. The writing is truly engrossing and the performances are all extraordinarily solid. The very specific visual framing is a trick that I didn’t even catch until about midway through the film. Brilliance. Huge congrats to writer-director Jon Mikel Caballero. Fantasia International Film Festival is a delightful venue for this feature that is a relationship film wrapped in science fiction.

Review: ‘Occupation’ has a full sci-fi miniseries feel in 2hrs

A ragtag group of folks from a small town band together when the unexpected is thrust upon them. Think The Walking Dead (RV and all), but with aliens.. and sped up in time. The intersection of different personalities makes for an intriguing story of survival. There is a beautiful first visual, and perhaps an homage to Close Encounters of the Third Kind, as we are introduced to the threat. But that does not last long. In a matter of seconds, mass explosions and hysteria as a heavily armed alien army approaches the local rugby game and obliterates the scene. It’s pretty exhilarating immediately. You are invested in these folks. The alien armor is designed in a RoboCop meets Cybermen (Doctor Who) fashion. While I wasn’t a huge fan of their appearance underneath, I’ll forgive it for all the other positive aspects. Our group takes aim at not only survival but fighting back, and making a new life for others. The film pushes forward in time quickly covering a ton of story ground. The performances are great. The FX are pretty stunning. This could have easily been an entire series. Occupation is truly action-packed and phenomenally engrossing. It goes far beyond the normal invasion movie. At its core, Occupation is about humanity.

Saban Films will release the upcoming sci-fi film OCCUPATION in theaters and on VOD and Digital HD on July 20, 2018.
The film was written and directed by Luke Sparke (Red Billabong)and starsDan Ewing (“Home and Away,” “Power Rangers R.P.M.”), Temuera Morrison (AquamanGreen Lantern), Stephany Jacobsen (Alex Cross, “Terminator: The Sarah Connor Chronicles”), Rhiannon Fish (“The 100,” “Home and Away”), Zachary Garred (“General Hospital,” Marriage of Lies), Izzy Stevens (“Puberty Blues,” “Underbelly”), Charles Terrier (“Interface,” King of Ashes), Charles Mesure (“Once Upon a Time,” “The Magicians”), Trystan Go (“Small Town Hackers,” “The Family Law”), Felix Williamson (Peter RabbitThe Great Gatsby), Jacqueline McKenzie (The Water Diviner, “The 4400”), Aaron Jeffery (Turbo KidX-Men Origins: Wolverine), and Bruce Spence (WinchesterPirates of the Caribbean: Dead Men Tell No Tales).

Review: ‘A Wish For Giants’ Warms Your Heart

A Wish For Giants

Release Date: February 17, 2018

Run Time: 1 hour 18 minutes

Reviewed By: Reel Reviews Over Brews

Sophie (Naysa Altmeyer) meets a kindred spirit in Roxie (Alexa Mechling), a young girl with an inoperable brain tumor and the impossible wish to meet Bigfoot. As if the task at hand isn’t hard enough, Sophie must contend with meddling from Derrick (Connor McClain), a fame-hungry classmate born into privilege from her graduate classes. As time grows short and pressures mount, Sophie must align herself with Derrick in order to see Roxie’s wish granted, even if not in the way she may have hoped for. Unknown to everyone is the possibility that there may be magic in the wish of a dying girl, and a truth beyond belief.

Going into A Wish For Giants, I wasn’t sure what to expect. The only other movie with Bigfoot I’ve seen is Harry and the Hendersons. When I was little, Harry used to give me nightmares… who knows why, but this would be my first Bigfoot movie since. So I began this adventure only knowing two things. One was, it was a Bigfoot movie, but not a typical Bigfoot movie. The other was, it won Best Dramatic Feature at a film festival and it is consideration for awards at several other festivals. I can certainly see why it won one award and is in consideration for more. A Wish For Giants was wonderful. It truly warms your heart. You can tell it’s a low budget film (i.e., sound and video quality), but that doesn’t change how great the story line is. I would love to see what a major Hollywood producing company could do with it. Reminded me of a movie you would find on Hallmark or Lifetime. It just had that feel. I think you’ll know what I mean. If you happen upon A Wish For Giants, it’s definitely worth the watch! It’ll leave you with a smile on your face. Now maybe I’ll give Harry and the Hendersons another shot… maybe.

Reel ROB Rating: 6.5 out of 10 stars

Post Credits Scene: No

We want to thank our friends at Reel News Daily for allowing us to do this guest review!

Review: ‘The God Inside My Ear’ – One Trippy Ride

The God Inside My Ear

Release Date: August 2017

Run Time: 1 hour 38 minutes

Reviewed By: Reel Reviews Over Brews

After experiencing a peculiar and sudden breakup with her boyfriend, Elizia discovers a world of conspiracies, strange voices and horrifying visions.

Holy ayahuasca trip, Batman! This is one trippy movie. Go into it with an open mind and you won’t be disappointed. This is certainly one of the better low budget films I’ve seen in a while. I believe the entire movie was completed in 13 days with only $8,000. Damn, that is impressive work! Linnea Gregg as Elizia did a wonderful job. Very impressed with her work. Although hard to follow at times, it had me going back and forth in my own head trying to figure out how it would end. It was certainly a bit of a jaw dropper, which is my favorite kind of movie so that helped make my decision on the higher rating easy. Can’t wait to see what Joe Badon produces next!

Reel ROB Rating: 5.75 out of 10 stars

Post Credits Scene: No

We want to thank our friends at Reel News Daily for allowing us to do this guest review!